The paper is divided into two parts. In the first part, the basic concepts, such as “African philosophy” and “Afrophone philosophies”, their relationship and the general context of the debate on “African philosophy” will be defined. The author anticipate her definition here and says that “Afrophone philosophies”are those discourses that are the medium of philosophical reflexion in a given culture. Thus in the second part of the paper, Alena Rettová concentrates on one specific case of a philosophical reflexion, that of reflecting philosophical influences in the late works of Euphrase Kezilahabi, Nagona (1990) and Mzingile (1991).

The paper is divided into two parts. In the first part, the basic concepts, such as “African philosophy” and “Afrophone philosophies”, their relationship and the general context of the debate on “African philosophy” will be defined. The author anticipate her definition here and says that “Afrophone philosophies”are those discourses that are the medium of philosophical reflexion in a given culture. Thus in the second part of the paper, Alena Rettová concentrates on one specific case of a philosophical reflexion, that of reflecting philosophical influences in the late works of Euphrase Kezilahabi, Nagona (1990) and Mzingile (1991).

Since the very moment of their appearance two recent works of Euphrase Kezilahabi- Nagana (1990) and Mzingile (1991)- hold a very special place in the whole development ofKiswahili literature, giving a lot of puzzles for the reader and a lot of material for the scholars of literature. I\' m going to dwell upon only one aspect of the book - its generic origin; for I think that this question will sooner or later arise. To this effect, I would dare first narrate - very briefly - the contents of the book I would refer to it as `the book´, although it actually consists of two parts - but these parts are so closely related to each other, that it seems possible to speak of Nagana and Mzingile as one piece of work. To what literary genre shall we ascribe the latest work of Tanzania` s leading writer? I would dare to come forward with such a question, because within the structure of the book there seem to be at least four more or less easily tangible stylistic plans. The first one I would call a folkloristic plan, for Kezilahabi uses widely and vividly the elements of African folklore - from mythological concepts to folklore plots, inserted into the narration. The second stylistic plan of the book can be called that of a parable - a parable in the sense of a self-contained story conveying didactic message to a reader or a listener. The book is full of such stories. The next stylistic plan one can call that of science-fiction - or, I would rather say, of antiutopia, for the author draws apocalyptic pictures of the world after the nuclear war, implyin the technique inherent to science-fiction novels. Finally, another stylistic plan of the book can be called realistic - for the author gives, for example, the descriptions of modern city, where the Msichana-Mwokozi dwells, or of an African village, when he tells about the childhood of the main character, using the traditions of east African realistic novel, portraying shortly but vividly urban and rural life. I would say that this realistic plan takes smaller place than the other three - but it is by no means less noticeable.

This paper deals with intertextuality in two contemporary Swahili novels: Euphrase Kezilahabi`s Nagona (1987/1990) and William E. Mkufya`s Ziraili na Zirani (1999). It is a first approach to intertextual relations between these two novels. My aim is to show how the contemporary Swahili novel has further opened up its scope to universal questions of mankind. Nagona describes the journey of an unnamed protagonist through strangely abandoned landscapes and his surrealistic experience. It is written in a puzzling style between realism and hallucination. The second work, Ziraili na Zirani, is a novel written in the style of an epic. Dwelling on its literary role models, which are Dante`s Divina Commedia (1312-1321) and Milton`s Paradise Lost (1658-1665), it describes the battle over religion. It takes the reader on a fantastic journey between heaven, paradise and hell, with several excursions to the historical and contemporary malices and catastrophes on earth.

This paper deals with intertextuality in two contemporary Swahili novels: Euphrase Kezilahabi`s Nagona (1987/1990) and William E. Mkufya`s Ziraili na Zirani (1999). It is a first approach to intertextual relations between these two novels. My aim is to show how the contemporary Swahili novel has further opened up its scope to universal questions of mankind. Nagona describes the journey of an unnamed protagonist through strangely abandoned landscapes and his surrealistic experience. It is written in a puzzling style between realism and hallucination. The second work, Ziraili na Zirani, is a novel written in the style of an epic. Dwelling on its literary role models, which are Dante`s Divina Commedia (1312-1321) and Milton`s Paradise Lost (1658-1665), it describes the battle over religion. It takes the reader on a fantastic journey between heaven, paradise and hell, with several excursions to the historical and contemporary malices and catastrophes on earth.

Since the very moment of their appearance two recent works of Euphrase Kezilahabi- Nagana (1990) and Mzingile (1991)- hold a very special place in the whole development ofKiswahili literature, giving a lot of puzzles for the reader and a lot of material for the scholars of literature. I\'' m going to dwell upon only one aspect of the book - its generic origin; for I think that this question will sooner or later arise. To this effect, I would dare first narrate - very briefly - the contents of the book I would refer to it as `the book´, although it actually consists of two parts - but these parts are so closely related to each other, that it seems possible to speak of Nagana and Mzingile as one piece of work. To what literary genre shall we ascribe the latest work of Tanzania` s leading writer? I would dare to come forward with such a question, because within the structure of the book there seem to be at least four more or less easily tangible stylistic plans. The first one I would call a folkloristic plan, for Kezilahabi uses widely and vividly the elements of African folklore - from mythological concepts to folklore plots, inserted into the narration. The second stylistic plan of the book can be called that of a parable - a parable in the sense of a self-contained story conveying didactic message to a reader or a listener. The book is full of such stories. The next stylistic plan one can call that of science-fiction - or, I would rather say, of antiutopia, for the author draws apocalyptic pictures of the world after the nuclear war, implyin the technique inherent to science-fiction novels. Finally, another stylistic plan of the book can be called realistic - for the author gives, for example, the descriptions of modern city, where the Msichana-Mwokozi dwells, or of an African village, when he tells about the childhood of the main character, using the traditions of east African realistic novel, portraying shortly but vividly urban and rural life. I would say that this realistic plan takes smaller place than the other three - but it is by no means less noticeable.